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Creative In- Teractions – the Mobile Music Work- Shops 2004 – 2 3 CREATIVE IN- TERACTIONS – THE MOBILE MUSIC WORK- SHOPS 2004 – 2008 Nicolaj Kirisits • FrauKe BehreNdt • lalya Gaye • atau taNaKa 4 ACKNOWLEDGEMENTS 5 CREATIVE INTERACTIONS – First and foremost we are deeply grateful to all contributors to and participants of the workshops as well as the reviewers; especially those who have been involved with the event over several years. We would like to thank all institutions that supported and hosted the workshop in the previous years, namely the Viktoria institute, THE MOBILE MUSIC WORK- NiMe, university of sussex, Futuresonic, steiM, Waag and the university of applied arts Vienna. thank you, lars-erik holmquist for initiating the first workshop and thank you, Kristina andersen for joining the steering committee of the workshop series. We also wish to thank Bernhard Faiss for layouting this publication. SHOPs 2004 – 2008 Many thanks to dr. Gerald Bast and the university of applied arts, Vienna for sponsoring this catalogue. 5TH INTERNATIONAL MOBILE MUSIC WORKSHOP the cover picture was taken by Bernhard Faiss May 13 – 15, 2008 uNiVersity oF applied arts, VieNNa unless stated otherwise all rights remain with the author. http://WWW.MoBileMusicWorKshop.orG 6 VIENNA MAP TIME SCHEDULE 7 spat_lab Day 2 – MAY 14 POSTER PRESENTATION 10:00 – 12:00 Mobile tangible interfaces as Gestural instruments F. Kayali / M. pichlmair / p. Kotik 19:00 • community - dinner at Xpedit an Augmented Reality Framework for Wireless Mo- Day 3 – MAY 15 bile performance M. Wozniewski / N. Bouillot / Z. Settel / J.r. Cooper- HANDS-ON SESSIONS stock 10:00 – 12:00 undersound and the above Ground r. Widerberg / y. harris / s. symons B Department for Digital Arts a. Bassoli / J. Brewer / K. Martin / I. Carreras / D. Tac- coni 1010 Vienna, Sterngasse 13 12:00 – 13:30 lunch soundFishing • c. Midolo Rudolfs- park Day 1 – MAY 13 PAPER3 Praterstraße 12:00-13:30 • lunch Taborstraße 13:30 • Developments and Challenges turning Mobile Donaukanal 10:00 • Welcome PAPER2 phones into Generic music performance platforms Wipplingerstraße 10:30 • Keynote G. essl / G. Wang / M. rohs Sterng.B 13:30 • Some Challenges Related to Music and Move- Schwedenplatz 14:00 • a typology for listening in place U1 U4 12:00 – 13:30 • lunch ment in Mobile Music technology p. rebelo / M. Green / F. hollerweger Franz-Josefs-Kai a. r. jensenius Marc-Aurel-Str. PAPER1 14:30-15:00 • coffee break Fleischmarkt 14:00 • real-time synaesthetic sonification of travel- Tuchlauben 13:30 • Caressing the Skin: ing landscapes Mobile devices and bodily engagement t. pohle / p. Knees CLOSING SESSION - PANEL DEBATE Rotenturmstraße F. Schröder Graben 14:30-15:00 • coffee break 15:00 – 17:00 Stephans- Wollzeile platz A 14:00 • MoGMi: Mobile Gesture Music instrument a. dekel / G. dekel PERFORMANCES2 CLOSING PARTY U1 U3 Stubenring U4 14:30 – 15:00 • coffee break 19:00 – … Dr. KarlU3 15:00 • Framework Lueger Platz a. haberl / K.Filip / s. Faessler / N. Kirisits Vordere Zollamts-Straße PERFORMANCE1 CONCERTS U3 15:30 • tango intervention Vienna Kärntner Straße 15:00 • transit l. robert 20:00 • springfield rVl-003 Stadtpark spat_lab j. perschy / r. Mathy / M. Wyschka 16:00 • iMproVe - mobile phone sound improvisation Parkring U4 Burggarten 15:30 • craving r. Widerberg 20:30 • taus B. Garnicnig / G. haider t. Blechman / K. Filip 16:30 • Collaborative Musical Games with Phoneplay A Main Building University of Applied Arts INSTALLATIONS j. Knowles 21:00 • institute for transacoustic research 1010 Vienna, Oskar Kokoschka-Platz 2 (Stubenring 3) 16:00 – 17:00 • digital claiming N.Gansterer / M.Meinharter / J.piringer / E.reitermayer 8 FOREWORD 9 Looking Back at Five Years of the MMW by 5 days! Downloadable music was as yet far from into narratives spread across geographical space. these sessions, uncompleted yet on-going projects newer research and development institute active in ed Tactical Sound Garden at the 3rd MMW. Frauke being a commercially viable reality. Napster had al- other presentations reflected on artistic approaches received critical review and support by peers includ- the fields of networked art, education and creative made the trip to Brooklyn to give the presentation, Frauke Behrendt ready been shut down, but Kazaa was still the pre- to mobile music and socio-cultural impacts of mo- ing Atau, Lars Erik, and Maria Håkansson. Projects industries. make contact with the New York scene, and to raise lalya Gaye dominant peer-to-peer file sharing system. It was in bility, music consumption and urban culture. included mobile music systems and enabling tech- Keynote presentations at the 4th MMW under- interest in bringing the MMW back to North ameri- atau tanaka this context that the first workshop sought to situate nologies, interface design, art pieces, and philo- scored this breadth. american artist teri rueb re- ca for a future edition. the place of music in the landscape of rapidly devel- this edition of the workshop included hands-on ac- sophical approaches to mobile music. The projects traced a cultural approach to mapping out a loca- Introduction oping mobile computing technologies. tivities that focused on “bodystorming” of mobile were grouped according to three key themes: Mo- tion-sensitive audio work. STEIM’s Michel Waisvisz 5th MMW – Vienna music applications and scenarios. With this method bile collaborative music making, Soundscapes & recounted a personal musical history that included it started with two conferences in 2003. At Ubicomp From lalya’s notes of the first workshop: of structured brainstorming, participants explored mobile music listening, HCI in mobile music and dismantling pianos in childhood, to creating ana- the workshops have drawn an interdisciplinary 2003 in Nottingham, UK, in the same demo room Mobile music is a new media relying on the use of various mobile music themes, developed simple uses of music in mobile setting. logue live samplers with pedal-controlled Revox group of participants including artists, musicians, were two music demos: arianna Bassoli’s now leg- mobile computing. This media is characterised by application ideas, and physically enacted scenarios open reel recorders, to conceiving one of the first designers, industry representatives and academics endary Tuna, and Atau Tanaka’s Malleable Mobile a tension between place and music creation, listen- of use in order to get an embodied understanding during a hands-on session, participants got direct truly mobile musical instruments, the crackleBox. Fi- from ubiquitous computing, media studies and so- Music. they looked at the implications of ubiqui- ing or sharing. This tension is created by its mobile of design challenges and opportunities specific to experience with cutting-edge mobile music and nally, regine debatty, the indefatigable art blogger, cial sciences. they have featured a range of activi- tous computing technology on music consumption nature and results from the fact that mobile music mobile music. enacting scenarios stimulated dis- locative audio technology. the tutorials were fol- shared her insights on her continuously evolving vi- ties that go beyond the typical conference set-up, and creation. Around the same time in Paris, Lalya devices can be used anywhere but at the same time cussions on mobile ways of sharing and projecting lowed by bodystorming sessions where participants sions of the creative potential of technological, bio- most notably with hands-on, critique, and structured Gaye and Ramia Mazé’s Sonic City was presented have an awareness of place. When becoming mo- music in public space, and of social meaning and sketched application ideas for mobile music using logical, and cultural forms, and put theory into prac- brainstorming sessions. this year’s workshop is host- at the uist conference, looking at ways that the ur- bile, the media is displaced from a particular loca- adequacy. the presented technology as well as simple audio tice through active coverage of the workshop on her ed by the university of applied arts Vienna, and ex- ban environment could become an input to a por- tion to the movements of a particular user, provid- devices as props. blog, We Make Money Not art. tends the creative emphasis of the MMW from the table generative music system. A kind of community ing a soundtrack to her life as the Sony Walkman™ Siggraph 2005 musical focus of STEIM towards the visual arts and emerged in email discussion afterwards sharing the once did, but with additional properties such as NIME 2006 holding the workshop across two locations in the design disciplines. The activities of the Spat_lab, idea that the technologies presented in scientific networking capabilities (enabling music sharing with the Mobile Music community broadened its hori- vibrant city of amsterdam permitted a real engage- introduced by Nicolaj Kirisits and described in this conferences could be harnessed for musical means. strangers in public space), or context-awareness (en- zons in August of that year by organizing a panel like it had at siggraph, the MMW in 2006 reached ment with the urban environment. cathy van eck’s volume, are consistent with the spirit of the MMW, this all took place before the commercial intro- abling certain forms of mobile music making). discussion on Ubiquitous Music at ACM SIGGRAPH out beyond the discipline to present a report on hearing Sirens led workshop participants like a Pied and created the context for the 2008 partnership. duction of Walkman-branded mobile phones and in los angeles. as the largest international confer- the emerging field at
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